Teaching pure intonation in the history of vocal education

Abstract

This article analyzes the genesis of approaches to teaching pure intonation in the history of vocal education. The problem of pure intonation is relevant because of the sensitivity of the human ear. In Western music there are only 12 semitones per octave, but the ear is able to distinguish many smaller intervals. This gives more than 2000 shades of audible heights. The correctness of pure intonation is questioned, and it is more important to ask the question of how to adjust the sounds. Every person, without effort, can learn pure intonation. The sounds made when singing can be correct or not. It depends on the correspondence of the essence and form. Vocal teachers should adapt the melodic rhythmicity of the voice to the meaning of phrases and words. Vocalists can play with intonation, using inflections and bright accents to add personality to their style. Some nuances may be imperceptible to an untrained ear. Musical expression arose long before the development of language and grammatical rules. The author comes to the conclusion that in the history of vocal education, different approaches to teaching pure intonation have been developed. One of the early approaches was introduced by the ancient Greeks, who used a series of six tones to train accuracy and consistency of pitch. In the Renaissance, composers introduced new requirements for intonation due to the emergence of polyphonic music. Vocal teachers introduced the concept of melodic contour, which helped singers develop intonation skills. In the XIX century, the bel canto style emphasized the beautiful, pure timbre of the voice and required precise intonation. In the modern era, with the advent of sound recording technology and intonation analysis software, singers and teachers can more accurately assess and improve their skills.